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During his diplomatic residency in Japan, from 1921 to 1927, Paul Claudel encountered the No, a form of traditional theatre. It corresponded to what he had been envisaging: a new form for synthesising the arts. This book casts light on the originality with which he interpreted and adapted the No in his own work.
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During his diplomatic residency in Japan, from 1921 to 1927, Paul Claudel encountered the No, a form of traditional theatre. It corresponded to what he had been envisaging: a new form for synthesising the arts. This book casts light on the originality with which he interpreted and adapted the No in his own work.